crocodile

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About crocodile

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    A part-time Horner apologist
  • Birthday 01/16/85

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  • Location River of Nile

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  1. What Is The Last Score You Listened To?

     Metropolis Symphony by Michael Daugherty       Karol
  2. What Is The Last Score You Listened To?

    The Boxtrolls by Dario Marianelli. A score that makes me lament we never got to hear this composer's version of Pan. I remember reading several reviews in 2014 stating that it lacks coherence and themes. Not quite sure what to make out of that, the score is devilishly clever with main malleable idea going through many iterations - from ominous to heroic (and everythihg else in between). And there are several ideas running through it. It's a very conservative score in the best tradition of animation, yet never succumbing to sugary aimless underscore. The thematic material might be bit elusive but is in fact well developed and used and Marianelli's trademark tendency to blur the line between sound effects, source music and underscore is yet again on display. And it is also brilliant in the film. Can't wait for his next score to Laika's latest production that's coming out this year.           Karol
  3. What Is The Last Score You Listened To?

    A.I. Artificial Intelligence Jaws Empire of the Sun Family Plot   Karol
  4. The 2015 IFMCA Nominations

    I don't know, if you combine the themes of Tomorrowland with the heart of Inside Out, underscore writing of Jurassic World and pure epic fun of Jupiter Ascending you have just about a perfect Giacchino score.   Karol
  5. I just thought we had something... But also can see now that I could have never been enough for you.   Karol
  6. Does it mean that we're over?   Karol
  7. The 2015 IFMCA Nominations

            Karol
  8. The 2015 IFMCA Nominations

    Well, it comes as a surprise to me as well.   Karol
  9. The 2015 IFMCA Nominations

    The film made lots of money and the music is well mixed in it. It wasn't my personal favourite but I can see why other people like it so much.   Karol
  10. The Big Bad Top Gear Thread

    I never understood the phenomenon of Clarkson anyway. Thought he was just a silly twat, to be honest.   Or is that the appeal?   Karol
  11. The 2015 IFMCA Nominations

    I don't think Patrick Doyle is your type of composer anyway, right?   Karol
  12. The 2015 IFMCA Nominations

    Well, both are very solid scores. I'm sure it wasn't far behind.   Any score is eligible for that category, Steef.    Karol
  13. The 2015 IFMCA Nominations

    IFMCA Award Nominations 2015 INTERNATIONAL FILM MUSIC CRITICS ASSOCIATION AWARD NOMINATIONS ANNOUNCED; OCTOGENARIAN VETERANS JOHN WILLIAMS AND ENNIO MORRICONE LEAD THE FIELD, MULTIPLE NOMINATIONS FOR MICHAEL GIACCHINO, LATE JAMES HORNER   FEBRUARY 4, 2016. The International Film Music Critics Association (IFMCA) announces its list of nominees for excellence in musical scoring in 2015, for the 12th annual IFMCA Awards. The most nominated composers are industry veterans John Williams and Ennio Morricone, as well as Michael Giacchino, and the late James Horner.   83-year old John Williams receives four nominations, all for his score for the smash hit sci-fi adventure “Star Wars: The Force Awakens” directed by J. J. Abrams, which is nominated for Score of the Year, Best Fantasy/Science Fiction/Horror score, and Film Music Composition of the Year. Williams also receives a personal nomination as Composer of the Year. Williams has previously been nominated for 31 IFMCA Awards, winning on 12 occasions, including Score of the Year for “Memoirs of a Geisha” in 2005 and “War Horse” in 2011.   87-year old Italian legend Ennio Morricone receives four nominations; three for his score from director Quentin Tarantino’s dark western “The Hateful Eight,” which is recognized in the Score of the Year, Best Drama score, and Film Music Composition of the Year categories, and one for himself as Composer of the Year. Morricone has been nominated for IFMCA Awards on seven previous occasions; his last Score of the Year nomination was in 1999, for “La Leggenda del Pianista sull’Oceano [The Legend of 1900]”.   Michael Giacchino’s nominations are split between three works: the moving Disney-Pixar animated film “Inside Out,” which is nominated for Best Animation score; the ambitious science fiction epic “Jupiter Ascending,” which is nominated for Score of the Year and Best Fantasy/Science Fiction/Horror score; and the fantasy adventure “Tomorrowland,” which is nominated in the Film Music Composition of the Year category. Giacchino has previously been nominated for a total of 31 IFMCA Awards, winning twelve of them. He won the Best Score award in 2004 for “The Incredibles,” in 2009 for “Up,” and was named Composer of the Year in both those years.   James Horner, who was tragically killed in a plane crash this past June, receives three nominations for his score for the Chinese-language drama “Wolf Totem” directed by Jean-Jacques Annaud, which is recognized in the Score of the Year, Best Drama score, and Film Music Composition of the Year categories. Horner is also nominated as Composer of the Year, and in so doing becomes the first composer to be nominated in this category posthumously. Prior to this year, Horner’s lifetime IFMCA tally stood at 14 nominations, with one win, for “The Mask of Zorro,” in 1998.   The other nominee for Score of the Year is Patrick Doyle’s score for the romantic Disney fantasy “Cinderella,” while the other composer vying for the title of Composer of the Year is Daniel Pemberton, who wrote several outstanding scores in 2015, including the big-screen reboot of the 1960s spy thriller franchise “The Man from U.N.C.L.E.,” and “Steve Jobs,” a dramatic look at the inner workings of the Apple corporation across several decades.   Each year the IFMCA goes out of its way to recognize emerging talent in the film music world, and this year is no exception. The nominees in the Breakthrough Composer of the Year category include the alternative pop group Cat’s Eyes – comprising English musician Faris Badwan and Italian-Canadian soprano/composer/instrumentalist Rachel Zeffira – who wrote a dream-like score for the experimental British erotic film “The Duke of Burgundy”; British composer Gareth Coker, for his immensely popular score for the video game “Ori and the Blind Forest”; Swedish composer Ludwig Göransson, who brought the spirit of Rocky Balboa back to life with his score for the boxing drama “Creed”; Italian composer Maurizio Malagnini, whose scores for the British fantasy film “Peter and Wendy,” as well as the popular TV series “Call the Midwife,” caught the attention of the group; and Spanish composer Diego Navarro, whose score for the animated film “Atrapa la Bandera [Capture the Flag]” was a rousing celebration of the heroism of space exploration.   As it has in previous years, the IFMCA takes pride in honoring composers from across the film music world; this year’s international nominees include French composer Armand Amar for his score from the expansive documentary feature “Human,” Hungarian composer Robert Gulya for his charming music for the adventurous Mark Twain adaptation “Tom Sawyer and Huckleberry Finn,” Argentine composer Federico Jusid for his superb work on the Spanish TV series “Carlos, Rey Emperador” (the sequel to the multi-IFMCA Award-winning “Isabel”), veteran French composer Michel Legrand for his delightful score for the comedy “La Rançon de la Gloire [The Price of Fame],” Spanish composer Fernando Velázquez for his chilling work on the beautiful gothic horror film “Crimson Peak,” and French-Lebanese composer Gabriel Yared for his score for the poetic and philosophical animated film “Kahlil Gibran’s The Prophet”. Several other composers are receiving their first ever IFMCA Award nominations this year, including Jessica Curry (“Everybody’s Gone to the Rapture,” Video Game), Bryce Dessner (“The Revenant,” Action/Adventure/Thriller), Darren Fung (“The Great Human Odyssey,” Documentary), Tom Holkenborg (“Mad Max: Fury Road,” Fantasy/Sci-Fi/Horror), Joshua Johnson (“I Am Big Bird: The Carroll Spinney Story,” Documentary), Joe Kraemer (“Mission: Impossible – Rogue Nation,” Action/Adventure/Thriller), Matthew Margeson (“Kingsman: The Secret Service,” Action/Adventure/Thriller), Alva Noto (“The Revenant,” Action/Adventure/Thriller), and Ryuichi Sakamoto (“The Revenant,” Action/Adventure/Thriller).   The International Film Music Critics Association will announce the winners of the 12th IFMCA Awards on February 18, 2016. ####################################### FILM SCORE OF THE YEAR Cinderella, music by Patrick Doyle The Hateful Eight, music by Ennio Morricone Jupiter Ascending, music by Michael Giacchino Star Wars: The Force Awakens, music by John Williams Wolf Totem, music by James Horner COMPOSER OF THE YEAR Michael Giacchino James Horner Ennio Morricone Daniel Pemberton John Williams BREAKTHROUGH COMPOSER OF THE YEAR Cat’s Eyes (Faris Badwan and Rachel Zeffira) Gareth Coker Ludwig Göransson Maurizio Malagnini Diego Navarro FILM MUSIC COMPOSITION OF THE YEAR “L’Ultima Diligenza di Red Rock” from The Hateful Eight, music by Ennio Morricone “Brothers in Arms” from Mad Max: Fury Road, music by Tom Holkenborg “The Jedi Steps and Finale” from Star Wars: The Force Awakens, music by John Williams “Pin-Ultimate Experience” from Tomorrowland, music by Michael Giacchino “Return to the Wild” from Wolf Totem, music by James Horner BEST ORIGINAL SCORE FOR A DRAMA FILM Carol, music by Carter Burwell Creed, music by Ludwig Göransson Far From the Madding Crowd, music by Craig Armstrong The Hateful Eight, music by Ennio Morricone Wolf Totem, music by James Horner BEST ORIGINAL SCORE FOR A COMEDY FILM Krampus, music by Douglas Pipes The Lady in the Van, music by George Fenton La Rançon de la Gloire [The Price of Fame], music by Michel Legrand The Second Best Exotic Marigold Hotel, music by Thomas Newman Spy, music by Theodore Shapiro BEST ORIGINAL SCORE FOR AN ACTION/ADVENTURE/THRILLER FILM Kingsman: The Secret Service, music by Henry Jackman and Matthew Margeson The Man from U.N.C.L.E., music by Daniel Pemberton Mission: Impossible – Rogue Nation, music by Joe Kraemer The Revenant, music by Ryuichi Sakamoto, Alva Noto, and Bryce Dessner Tom Sawyer and Huckleberry Finn, music by Robert Gulya BEST ORIGINAL SCORE FOR A FANTASY/SCIENCE FICTION/HORROR FILM Cinderella, music by Patrick Doyle Crimson Peak, music by Fernando Velázquez Jupiter Ascending, music by Michael Giacchino Mad Max: Fury Road, music by Tom Holkenborg Star Wars: The Force Awakens, music by John Williams BEST ORIGINAL SCORE FOR AN ANIMATED FEATURE Atrapa la Bandera [Capture the Flag], music by Diego Navarro Gamba, music by Benjamin Wallfisch The Good Dinosaur, music by Mychael Danna and Jeff Danna Inside Out, music by Michael Giacchino Kahlil Gibran’s The Prophet, music by Gabriel Yared BEST ORIGINAL SCORE FOR A DOCUMENTARY The Great Human Odyssey, music by Darren Fung He Named Me Malala, music by Thomas Newman Human, music by Armand Amar The Hunt, music by Steven Price I Am Big Bird: The Carroll Spinney Story, music by Joshua Johnson BEST ORIGINAL SCORE FOR A TELEVISION SERIES Carlos, Rey Emperador, music by Federico Jusid Fargo, music by Jeff Russo Outlander, music by Bear McCreary Texas Rising, music by Bruce Broughton and John Debney Wolf Hall, music by Debbie Wiseman BEST ORIGINAL SCORE FOR A VIDEO GAME OR INTERACTIVE MEDIA Assassin’s Creed: Syndicate, music by Austin Wintory Everybody’s Gone to the Rapture, music by Jessica Curry Ori and the Blind Forest, music by Gareth Coker Revelation, music by Neal Acree Sid Meier’s Civilization: Beyond Earth – Rising Tide, music by Geoff Knorr, Griffin Cohen, and Grant Kirkhope BEST NEW ARCHIVAL RELEASE – RE-RELEASE OF AN EXISTING SCORE A.I.: Artificial Intelligence; music by John Williams, album produced by Mike Matessino, liner notes by Jeff Bond, album art direction by Jim Titus (La-La Land) Braveheart; music by James Horner, album produced by Dan Goldwasser and Mike Matessino, liner notes by Jeff Bond, album art direction by Jim Titus (La-La Land) Dances With Wolves; music by John Barry, album produced by Didier C. Deutsch, Mark G. Wilder, and Ford A. Thaxton, liner notes by Randall D. Larson, album art direction by Mark Banning (La-La Land) Jaws; music by John Williams, album produced by Mike Matessino, liner notes by Scott Bettencourt, album art direction by Joe Sikoryak (Intrada) Obsession; music by Bernard Herrmann, album produced by George Litto, Laurent Lafarge, and Cyril Durand-Roger, liner notes by Daniel Schweiger, album art direction by David Marques (Music Box) BEST NEW ARCHIVAL RELEASE – RE-RECORDING OF AN EXISTING SCORE Back in Time: 1985 at the Movies; music by Various Artists, performed by the Varèse Sarabande Symphony Orchestra cond. David Newman, album produced by Robert Townson, liner notes by Robert Townson, album art direction by Robert Townson, Bill Pitzonka, and Matthew Joseph Peak (Varèse Sarabande) Concert Suites/Music For Films; music by Fernando Velázquez, performed by the Euskadi Symphony Orchestra and Landarbaso Chorus cond. Fernando Velázquez, album produced by Fernando Velázquez and José M. Benitez, liner notes by Fernando Velázquez, Koldo Serra, Juan Antonio Bayona, and Oskar Santos, album art direction by Nacho B. Govantes (Quartet) Obsession; music by Bernard Herrmann, performed by the City of Prague Philharmonic Orchestra cond. Nic Raine, album produced by James Fitzpatrick, liner notes by Christopher Husted, album art direction by Matthew Wright and Damien Doherty (Tadlow) Sodom and Gomorrah; music by Miklós Rózsa, performed by the City of Prague Philharmonic Orchestra cond. Nic Raine, album produced by James Fitzpatrick, liner notes by Frank K. DeWald, album art direction by Matthew Wright, James Fitzpatrick and Ginko Digi (Tadlow/Prometheus) The Music of Patrick Doyle for Solo Piano; music by Patrick Doyle, performed by Patrick Doyle, album produced by Patrick Doyle and Robert Townson, liner notes by Patrick Doyle, album art direction by Robert Townson and Bill Pitzonka (Varèse Sarabande) BEST NEW ARCHIVAL RELEASE – COMPILATION Alan Silvestri: World Soundtrack Awards; music by Alan Silvestri, album produced by Sian Bolland and Reynold d’Silva, liner notes by Raf Butstraen, album art direction by Stuart Ford (Film Fest Gent/Silva Screen) Double Indemnity: Film Noir at Paramount; music by Various Artists, album produced by Lukas Kendall, liner notes by Scott Bettencourt, album art direction by Joe Sikoryak (Intrada) Lost in Space: 50th Anniversary Soundtrack Collection; music by Various Artists, album produced by Jeff Bond and Neil S. Bulk, liner notes by Jeff Bond, album art direction by Joe Sikoryak (La-La Land) Mission: Impossible – The Television Scores; music by Various Artists, album produced by Jon Burlingame, liner notes by Jon Burlingame, album art direction by Joe Sikoryak (La-La Land) Walt Disney Records: The Legacy Collection; music by Various Artists, album produced by Randy Thornton, liner notes by Various, album art direction by Lorelay Bové (Disney) FILM MUSIC RECORD LABEL OF THE YEAR Intrada Records, Douglass Fake, Roger Feigelson La-La Land Records, MV Gerhard, Matt Verboys Quartet Records, José M. Benitez Tadlow Music, James Fitzpatrick Varése Sarabande, Robert Townson #######################################   The International Film Music Critics Association (IFMCA) is an association of online, print and radio journalists who specialize in writing and broadcasting about original film, television and game music.   Since its inception the IFMCA has grown to comprise over 65 members from countries such as Australia, Belgium, Canada, Chile, France, Germany, Greece, Ireland, Italy, the Netherlands, Norway, Poland, Romania, Spain, Sweden, Switzerland, the United Kingdom, and the United States of America. Previous IFMCA Score of the Year Awards have been awarded to Hans Zimmer’s “Interstellar” in 2014, Abel Korzeniowski’s “Romeo & Juliet” in 2013, Mychael Danna’s “Life of Pi” in 2012, John Williams’s “War Horse” in 2011, John Powell’s “How to Train Your Dragon” in 2010, Michael Giacchino’s “Up” in 2009, Alexandre Desplat’s “The Curious Case of Benjamin Button” in 2008, Dario Marianelli’s “Atonement” in 2007, James Newton Howard’s “Lady in the Water” in 2006, John Williams’s “Memoirs of a Geisha” in 2005 and Michael Giacchino’s “The Incredibles” in 2004.   For more information about the International Film Music Critics Association go to www.filmmusiccritics.org , visit our Facebook page, follow us on Twitter @ifmca, or contact us at press@filmmusiccritics.org.   Karol
  14. Video Game Thread II

    Yes! There should have been a cutscene of him finding some water. Or something.   Karol